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2/6/16, 7:41 PM
This paper develops techniques for the analysis of video game music, with most of the focus on form and the analysis of entire
video game scores. Chapter 1 introduces the thesis and goals of the paper. Chapter 2 gives an overview of video game music
history, a survey of current work on video game music research, and terminology specific to video game pieces. Chapter 3
discusses some older musical concepts that are relevant to video game music, such as the dice music from eighteenth century
and twentieth century ideas of moment form and non-linear time.
The formal elements that make up the analytical portion of this paper are explained in Chapter 4. This chapter goes methodically
through two different types of graphs that are used in game score analysis. Chapter 5 takes these graphs and explores some
common forms that have been identified. Three full video game scores are then analyzed in detail in Chapter 6, showing how
these graphing techniques can be beneficial in analyzing video games. Lastly, Chapter 7 presents ideas on further research in
the largely unexplored area of video game music.
"Mussorgsky/Ravels Pictures at an Exhibition: Faithful to the Wrong Source"
14p (13p plus bibliography), includes examples
Though Ravel's orchestration of Mussorgsky's Pictures at an Exhibition shows many errors when compared to the manuscript of
the piano edition, it is likely that Ravel was working with a flawed edition of the piano score himself. This paper compares the
various piano editions of Mussorgsky's score with the manuscript to prove Ravel's intended faithfulness to the piano score, and
advocate for minor revisions to Ravel's orchestration to align it closer with the autograph manuscript.
The Performance of New Music in Major American Orchestras: 1980 2000.
87p (49p plus appendices and bibliography)
New music seems to be rarely played by professional American orchestras. This project focuses on the works performed during
the subscription concerts of the Los Angeles Philharmonic, the New York Philharmonic, and the Chicago Symphony Orchestra.
Subscribers to a symphony are the financial core of the orchestras support. They are the audience that an orchestra must
consider when programming new works. Overall, more than 5,500 pieces were performed between 1980 and 2000, but only 476
of those pieces are new works. Various factors contribute to the choice of repertory and composers. My thesis discusses the
composers and their music, the conductors, the orchestras, and the pieces that received repeated performances. Composers
such as Witold Lutoslawski and Pierre Boulez obtained a high status as composers and were performed frequently, while 104
composers only received a single performance by these orchestras. Conductors such as Daniel Barenboim and Leonard Slatkin
frequently performed new music, yet Eric Leinsdorf, who conducted regularly, rarely programmed new music. Frequent
performances of a work help establish it in the repertory of an orchestra, and I investigate why works such as Boulezs Notations
and Coriglianos First Symphony were performed more frequently than most of the others. This thesis discusses all these
aspects of new-music performance by exploring these three major American orchestras as case studies.
Appendices: New Works (listing of all works composed 1970-2000 performed during study); Sample Concert Programs (two
years of concert programs from each orchestra); Data and Graphs; Repeated Works.
http://www.jasonbrame.com/papers.htm#3
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